Majrooh Sultanpuri (1 October 1919 − 24 May 2000) was an Urdu poet, lyricist and songwriter. He was one of the dominating musical forces in Indian Cinema in the 1950s and early 1960s and was an important figure in the Progressive Writers' Movement.[1][2][3] and is considered one of the finest avant-garde Urdu poets of 20th century literature[4][5]

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Majrooh Sultanpuri was born as Asrar ul Hassan Khan in Sultanpur, Uttar Pradesh where his father was posted in the Police Department.[6] in either 1919 or 1920.[7] His father, though, a police officer, was not too keen on his son receiving English education and Majrooh was therefore sent for traditional 'Madrasa education' which led to his obtaining the qualification first of Dars-e-Nizami - a seven year course which concentrated on religious affairs along with proficiency in Arabic and Persian- and then the certificate of Alim. He thereafter joined Lucknow's Takmeel-ut-Tib College of Unani. He was a struggling Hakim when he happened to recite one of his ghazals at a mushaira in Sultanpur. The ghazal was a hit with the audience and Majrooh decided to drop his fledgling medical practice and began writing poetry seriously. Soon he was a 'regular' at mushairas and a "shagird" i.e. disciple of the then top name in Urdu Mushairas viz Jigar Moradabadi.[6][8] While Majrooh is popular as a film lyricist and is widely known in that capacity, be it known that he also created one of the best-known verses of Urdu poetry, Main akela hee chala tha janibe manzil magar, Log saath aate gaye aur carvan banta gaya! (I set off alone towards the destination but, People joined by and by and lo! a soon it was a caravan!)

In 1945, Majrooh visited Bombay to attend a mushaira at the Saboo Siddique Institute. Here his ghazals and poetry were highly appreciated by the audience. One of the impressed listeners was film producer A.R. Kardar.[7] He contacted Jigar Moradabadi who helped him to meet Majrooh. However, Majrooh refused to write for films because he didn't think very highly of them. But Jigar Muradabadi persuaded him, saying that films would pay well and would help Majrooh to support his family. Kardar then took him to music composer Naushad who put the young writer to test. He gave Majrooh a tune and asked him to write something in the same metre, and Majrooh wrote Jab Usne Gesu Bikhraye, Badal Aaye Jhoom Ke.... Naushad liked what he wrote and Majrooh was signed on as the lyricist of the film Shah Jehan (1946).[9] The songs of the film became so immensely popular that K.L. Saigal wanted Jab Dil Hi Toot Gaya to be played at his funeral. But before he could react to the large-scale appeal created by these lines, he fell ill. The harsh Bombay weather made him leave the city and return to his hometown in the North.

Shah Jehan was followed by S. Fazil's Mehndi, Mehboob's Andaaz (1949), and Shahid Latif's Aarzoo. Just as Majrooh was establishing himself as a lyricist and songwriter of repute, his leftist leanings got him into trouble. The government wasn't amused by his anti-establishment poems and he was jailed in 1949 along with other leftists like Balraj Sahni. Majrooh was asked to apologise, but he refused and was sentenced to two years in prison. While he was in prison, his eldest daughter was born. During this time his family experienced considerable financial difficulties. Raj Kapoor commissioned a song ("Dunia Banane Wale") from Majrooh for which he paid him Rs. 1000.

Majrooh's political beliefs were further manifested when his second daughter married the son of the Urdu writer and socialist Zoe Ansari. Toward the end both Majrooh and Zoe Ansari were disenchanted with the direction socialism had taken in the Soviet Union and China. Their desire to better the lives of the masses found an outlet in their writings.

Majrooh and Nasir Hussain first collaborated on the film Paying Guest, which Nasir wrote. After Nasir turned director and later producer they went on to collaborate in several films, all of which had huge hits and are some of Majrooh's best remembered works:

Majrooh also was instrumental in introducing R.D. Burman to Nasir for Teesri Manzil.[12] The trio worked in 7 of the above mentioned films. Burman went on to work in 2 more films subsequent to Zamane Ko Dikhana Hai.